What's next for dance: post-Brexit bullishness, but fears of a lost British generation

Javier Torres as Anthony and Ayami Miyata as Odette in Swan Lake
Credit: Emma Kauldha
As with so many artforms, the dance industry has seen a seismic shift during the pandemic, as live shows attended by audiences have given way to work on screens, watched at home. “They’ve become an integral part of our programming, rather than an add-on,” says David Nixon, artistic director of Northern Ballet. That change might have happened over the next few years, but Covid “has catapulted it ahead”.
Online, the offering has largely ranged from archive productions to live-streams and digital-specific commissions. The last of these, to my mind, have proved the most effective as a viewing experience, since they’re specifically designed for that medium – and our couch-bound attention span. “I’m not sure people want to sit in front of full-length ballets at home,” Nixon agrees. “The energy and focus in the theatre keeps people engaged.”

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